igf The purpose of the (independent sports festival) is to encourage innovation in the game development and recognize the independent game developers that advance the medium. This year, the game developer sat down with the IGF’s Novo Award and the finalist of the Simas McKenley Grand Prize To discover themes, design decisions, and tools behind each entry before the GDC. There are siblings organizations under the Game Developer and GDC Information.
Ginger There is an unknown language detection, in which the player plans to find his cross references between his abilities to listen to words and words.
The game developer talked about the challenges (and appeal) to produce his spoken language with the game creator Kevin Doo, why he made the game like a dictionary, and what was the reason for adding elements to help with the words he created.
Who are you, and what was your role in development Ginger?
My name is Kevin Du. I am the solo developer Ginger. My previous job Kevin (1997-2077).
What is your background in making a game?
I studied the game development and architecture at the university. After graduation, I make experimental games as a full -time job.
How did you come with your imagination? Ginger?
The original prototype is a compromise for the story of Younus and the whale. Without the help and speech of Younes Wheel, the world cannot imagine that only work can work. I compiled it to discuss the relationship between the body (whale) and the so -called spirit (Younus), but later he became summarized with organs and words.
Which development tools were used to build your game?
I used the coalition engine with two plugins: Fresh Freya Holmer and Book-Page Curl Pro by Abdullah Aldandravi.
Your previous IGF named, Kevin (1997-2077JesLanguage and meaning was detected by a wide story, which states that a makeup is needed to understand language players like Visual/Hyrridgefilk. In this game, language players need to work you have created. What did you appeal to find once again of language and meaning? What is the reason for you to do this with the words of players and pronunciation? Exactly to do it with words?
I hope the world can unite simultaneously, but language barriers are present everywhere. In a culture, a well -known thing can be unknown in elsewhere, which can make it difficult to understand others. In tongue Kevin (1997-2077) The image format is emotionally personal. After eliminating it, I didn’t find some questions about the language: Is it natural or artificial? Is it a carrier or an undisclosed class of knowledge? Is it necessary to love the language?
To solve these questions, I created a common language this time that looks like an European language but with unconventional grammar (about a regular approach). The Latin alphabet and its inner languages play a significant role in the present world. A large part of knowledge is recorded only in these languages. What would happen if we completely snatched all the external references – for example, we know the word “car”, but what would happen if anyone never saw a car like a stranger?
I am eagerly encouraged the player to rebuild knowledge. Playing as a practical activity has the power to change. I am sure that the more the player is, the more tolerant.
Which design challenges have emerged from creating the whole new written language? Designing this language is the potential for clean elements and gameplay?
About this language, the design work was initially suffering because every word is defined with other words that are not yet present and has not yet been appreciated. In addition, they are the basic words that resonate with the designer’s philosophy, so I should be careful. When I hit about 300 words, I self -sufficient the language environment.
In the early stages, I took the idea of talking with the sounds of the sound and casting the mantra with sound sounds. That is why sound and sound sounds appear like a pair in the game. If you whisper, all conversion can become magic.
Images give players even more about what the symbol can mean, but a letter based on a letter can not give any indication of what a word means comparing it to any language. What are the thoughts of giving players some indicators what a word can mean? What does this language mean to start to find out that in creating an internal cross -reference game system?
All internal cross references, as a whole, were the most important aesthetic purpose I was pursuing. Like on the ground, like lakes, mountains. No power is supporting it, but it is there, flowing quietly.
To make the game more sports ((regularly), I added a subtle tutorial/guide. However, if the truth, I can’t say that I like it. If I have the opportunity to create a printed version, I will end this section to drown in purity.
What did you attract you as a dictionary? And how did you create a story within the limits of the dictionary setting? How do you make a story through a reference book for a language?
I have a strong sense of intensity between knowledge and “dear you”. A dictionary is about fragility and the story is made. The dictionary produces content and the player mixes them. As a designer, I dedicated myself to Coke Book, not to cook myself. In addition, the types of words that are included and their frequency affect emotions.
What is the reason for you to add accent elements to the upper part of the screen? Why was an important part of the player’s experience with accent play? Why was it so important to give such detailed information about mouth movements for pronunciation?
In the context of Yunus mentioned earlier, mouth movements are represented by the body. The feeling of torture can make sense of awakening. Regarding the general language, in practice, the accent enables to read a book, not only capable, then the talker, not the renovation. With the help of words storage in the game, pronunciation converts a BTEBB into PDEPR.
How have you been affected by developing this experience of language and understanding? What have you taken from creating this experience?
I completely dislike the idea that playing is creating experiences. “Experience” is like a more trading term. The player wants to be more excited during shooting, so the designer improves the shooting experience. I don’t think designing Tattoos Or Chess Experiments are designing. Instead, I believe that the Crafting Games are creating a quality/feature/trait/personality, or even more, an existence. Like biologically, when we tolerate and guide a child, we do not think we are painting an experience, but an interactive person – and it’s a game.
One of the real goals of making this game was to clear my confusion. He did a good job on this purpose. Another purpose was to develop the standard of tolerance. I hope I can be more tolerant by making a game, and players, playing games. As some players said, they became more honest after playing Kevin (1997-2077).
